λ HANS BELLMER (GERMAN 1902-1975) NUDE DESCENDING Oil on canvas Signed (lower left) dated 1955 (lower right) 64 x 64cm (25 x 25 in.)Exhibited: Cologne, Galerie Gmurzynska,1966, no. 3 The authenticity of this work has kindly been confirmed by Rodica Aldoux. Hans Bellmer was a German artist known for his provocative and surrealistic sculptures, drawings, and photographs. Emerging in the 1930s, Bellmer's work often explored themes of desire, sexuality, and the subconscious mind. He gained international recognition for his "La Poupée" series, which featured unsettling and meticulously crafted dolls with interchangeable parts, arranged in surreal and sometimes disturbing compositions. His work was deeply influenced by his own experiences during the war, and his interest in psychoanalysis, particularly the theories of Sigmund Freud. During the Second World War, his work was declared "degenerate" by the Nazi party, and Bellmer fled to France in 1938, where his work was received by André Breton and the Surrealists with interest. He was fascinated by their experimentation of multifaceted planes of perspective, which influenced some of his later works. Bellmer's work has been exhibited in Europe and the United States, with multiple solo shows showcasing his photography, dolls and paintings. Highlights include solo shows at the Museum of Contemporary Art, Chicago in 1975, the Centre Georges Pompidou in 2006, and at the Washington D.C Hirshhorn Museum and Sculpture Garden in 2016. Condition Report: Unexamined out of glazed frame. Fine craquelure scattered across the surface. Light surface dirt. Vertical stretcher mark running through the centre of the work slightly visible. Inspection under UV reveals light scattered retouching, most notable to the lower edge. Condition Report Disclaimer
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WALTER RICHARD SICKERT (BRITISH 1860-1942) THE RIALTO BRIDGE Oil on canvas Signed (lower left) 65.5 x 49.5cm (25¾ x 19¼ in.)Painted circa 1901. Provenance: Gaston Bernheim, Paris Jacques Rodriguez-Henriques, Paris Sale, Sotheby's, London, 1 May 1991, lot 15 Acquired from the above sale by the present owner Literature: Wendy Baron, Sickert Paintings & Drawings, New Haven and London, 2006, p. 263, no. 165 (illustrated)Sickert first visited Venice in 1894 with his wife Ellen. Although there is no record of him painting during this brief stay, he was known to have referred to it as "the loveliest city in the world" and it undoubtedly enthralled him as he was to return for more extended visits, inspiring him to paint some of his most important and critically acclaimed works.In May 1896 Sickert returned to Venice and took as his studio a flat at 940 Calle dei Frati, keeping it for all his subsequent visits. A few minutes' walk to the Accademia and Grand Canal, just north of the Zattere, Sickert visited and painted the famous buildings and sites of Venice, returning to the same spot on numerous occasions to repeat the process at different times of the day. Indeed, repetition was a key feature of Sickert's work in general but notably in his views of Venice and Dieppe. In Venice, he painted version after version of the façade and piazza at San Marco, the Santa Maria della Salute, the Rialto Bridge and the Scuola di San Marco. His dedication to revisiting the same locations echoes the architectural series of works produced by the Impressionists and, in particular bear comparison with Monet's series of paintings of Rouen Cathedral. However, unlike the Impressionists, he was not overly interested in recording the passing of time and light on his subject matter but rather "to disentangle from nature the illumination that brings out most clearly the character of each scene." (W. Sickert, French Pictures, Knoedler's Gallery, Burlington Magazine, July 1923, pp.39-40).Consequently, Sickert's paintings were frequently executed in his studio from drawings and small oil sketches. He showed scant interest in the effect of changing atmospheric conditions. Instead, he used this repetition to explore variations in colour and tone, experimenting with the handling of paint and the different emotional responses that these variations provoked.The most important of these were a small number of pictures depicting Venice at nightfall. These are reminiscent of the works of his earlier teacher, James McNeill Whistler, who famously painted London and Venice at night, referring to them as Nocturnes or Symphonies. Whistler used musical terms in the title in order to appeal directly to the viewer's senses without the need for narrative or subject. This synthesis of individual artistic disciplines appealed to a deeper, more visceral emotion than mere aesthetics. Although Sickert does not use the same language as his master the intent is very similar.In the present work Sickert depicts the unmistakable site of the Rialto Bridge from the Grand Canal, however he is not exploring Canalettos's topographical splendour or indeed Monet's fleeting light dancing on the water and reflecting on the Palazzos; he is appealing directly to the viewer's senses. Through the carefully chosen colours and tones, he creates a deep emotional response that transcends the obvious beauty of the subject and in turn impels the viewer to look beyond the subject and reflect on his own personal reaction to the painting.It is not Sickert recording his experience before the subject, but rather it is the experience of standing before the painting itself and it is this that makes this work as contemporary today as it was when it was painted over 100 years ago in "the loveliest city in the world." Condition Report: Examined under ultra violet light there are two spots of retouching to the sky. The canvas has been strip lined in order to secure the canvas edge to the original stretcher. Subject to the above the painting appears to be in excellent condition. Condition Report Disclaimer
λ BERNARD FARMER (BRITISH 1919-2002) UNTITLED Oil on board Signed and dated 1955 (verso) 51 x 41cm (20 x 16 in.)Provenance: Denis Bowen Exhibited: Jarrow, Bede Gallery, New Vision 55-65, 1984, no. 99 London, Belgrave Gallery, British Abstract Artists of the 50s and 60s, 1992 Condition Report: Very light discolouration to the edges of the white pigment. Some light rubbing to the extreme framing edges. Otherwise appears to be in good original condition. Inspection under UV reveals light scattered retouching to the white pigment (upper and lower right). Condition Report Disclaimer
λ SANDRA BLOW (BRITISH 1925-2006) UNTITLED Collage, watercolour, pencil and acrylic Signed and dated 2001 (lower right); further signed and dated 2001 (verso) 30 x 35cm (11¾ x 13¾ in.) Condition Report: Unexamined out of glazed frame. Some very light undulation to the card. Otherwise appears to be in good original condition. Condition Report Disclaimer
λ JEAN COCTEAU (FRENCH 1889-1963) LE THÉÂTRE ANTIQUE Earthenware plate Signed (to lower edge); further signed, inscribed and numbered Edition originale de/Jean Cocteau/Atelier Madeline Jolly/ 34/40 (to underside) Diameter: 36.5cm (14¼in.)Conceived in 1962 and executed in an edition of 40. Provenance: From a Private Collection Literature: Annie Guedras, Jean Cocteau Ceramiques, Paris, 1989, no. 136 Condition Report: Very light surface dirt. Otherwise appears to be in good original condition. Condition Report Disclaimer
DERWENT LEES (AUSTRALIAN 1884-1931) A TREE AMONGST DUNES Oil on panel Signed and dated 1911 (lower right) 25.5 x 35cm (10 x 13¾ in.)Provenance: Sale, Sotheby's, London, 11 December 1968, lot 257 From a Private Collection To be included in the forthcoming Derwent Lees Catalogue Raisonne by Lynn Davies, currently being prepared by Lund Humphries, for publication 2025. Born in Tasmania, Australia, Lees moved to London in 1905 and studied at the Slade School of Fine Art with Henry Tonks and Frederick Brown. After completing his studies, he stayed on to teach for a decade, working on and off whilst his artistic career took off, with works exhibited at the Goupil Galleries and the Chenil Gallery, Chelsea, in 1914.Between 1910 and 1912, Lees spent most of his time painting with artists and friends Augustus John, Ambrose McEvoy, and James Dickson Innes in North Wales and Spain. During the winter months, they would go to Collioure, a small fishing village on the Mediterranean in the south of France, a hub for artists in the early twentieth century, popular with Picasso, Matisse, Derain, and Braque. There, Lees was the only Australian artist introduced to Fauvism, subsequently completing a series of vivid landscapes. Some of his works from this time can now be found in the Tate Gallery, London. In 1913, Lees married Edith, known at Lyndra, who frequently modelled for John but then became the subject in Lee's own works. Specifically, she featured in a series of works completed in Aldbourne, Wilshire, which depict her amongst nature. In the same year, three of his paintings exhibited internationally as the only Australian artist represented at The Armory Show, which sold out in New York, Chicago, and Boston. His artistic career was cut short due to mental health problems, which sent him to hospital in Surrey until his death in 1931. But this did not limit the success of his works. During this time, the Redfern gallery held a retrospective exhibition, with Leeds and Manchester Galleries purchasing his works. Currently, his works are owned by many public collections, including the National Gallery Australia, The Glynn Vivian Art Gallery in Wales, and the National Gallery of Victoria in Melbourne. Condition Report: In good original condition, no evidence of retouching visible under ultraviolet light. Some surface dirt and would benefit from a light clean.Condition Report Disclaimer
λ CONROY MADDOX (BRITISH 1912-2005) THE MESSENGERS Oil and collage on canvas Signed and dated 77 (lower right);further signed, titled and dated 77 (verso) 95.5 x 124cm (37½ x 48¾ in.)Painted in 1977. Provenance: London, Belgrave Gallery Literature: Silvano Levy, The Scandalous Eye: The Surrealism of Conroy Maddox, 2003, p.275 Condition Report: The canvas is not relined. There are some scuffs and losses to the extreme edges of the canvas. Otherwise, in good original condition. Ultraviolet light reveals an area of retouching to the lower centre, also visible to the naked eye. Otherwise, in overall good original condition.Condition Report Disclaimer
λ CONROY MADDOX (BRITISH 1912-2005) ECHOES OF ENTICEMENT Acrylic and Collage Signed and dated 2000 (lower left) 51 x 40cm (20 x 15½ in.) Provenance: A gift from the artist to the present ownerExhibited: London, Belgrave Gallery, Conroy Maddox: A Surrealist Odyssey, 15 March-5 April 2001, no.55Literature: Silvano Levy, The Scandalous Eye - The Surrealism of Conroy Maddox, 2003, p. 283 Condition Report: Unexamined out of glazed frame. No evidence of retouching visible under ultraviolet light. This work appears to be in good original condition.Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) GENESIS Stainless steel, resin and perspex 150 x 143cm (59 x 56¼ in.)Executed in 2004. From an edition of 3. Provenance: Direct from the artist's studio collection The work is made up of individual rings of highly polished stainless steel, reflecting the light as the work is effected by wind or interior air movement. The reflected images in the steel are constantly changing creating a static piece which gives the notion of constant movement.
λ ANWAR JALAL SHEMZA (BRITISH 1928-1985) PAINTING 1959 Oil on canvas Signed and dated in Urdu (lower left); further signed, inscribed and dated 59 (verso) 84 x 64cm (33 x 25 in.) Provenance: Denis Bowen Acquired from the above by the present owner Exhibited: New Vision Centre Gallery, A.J.Shemza, 1959 London, Commonwealth Institute, Commonwealth Vision, 1961 (illustrated in catalogue) Bristol, Royal Commonwealth Society, Centenary Exhibition, 1968 Jarrow, Bede Gallery, New Vision 56-66, 1984, no. 45 Born in Simla, India, in 1928, Anwar Shemza initially studied Philosophy and languages at Punjab University before enrolling at the Mayo School of Art in Lahore. Graduating in 1947 he opened the Shemza Commercial Art Studio there and as an artist, poet and writer he quickly became a central figure in the cultural life of Pakistan. In 1956, he left Lahore to study at the Slade School of Art in London where his work began to fuse the earlier literary and artistic influences from Lahore with imagery and techniques that he discovered in the Museums and Galleries of London, most notably those of Paul Klee and Piet Mondrian . The Art Historian, Professor Iftikhar Dadi, describes Shemza's work from this period as "Calligraphic Modernism", observing that "among the lessons he learned from Klee was the importance of surface as the plane of modernist experimentation rather than a stress on modelling and the freedom and ability to deploy abstraction, geometry and pattern - much of it derived from Islamic art - towards modernist exploration."(I.Dadi, Calligraphic Abstraction: Anwar Jalal Shemza, London, 2015, p.12) Indeed Shemza's work from the late 1950s and early 1960s uniquely explores and celebrates his past and present artistic experiences while fighting the insular attitudes of the Post War British art establishment. His past successes in Lahore found admirers in the likes of Denis Bowen at the New Vision Centre Gallery and Victor Musgrave at Gallery One, however more mainstream galleries and critics were dismissive and hostile. As the artist and curator of the Hayward Gallery 1989 exhibition, The Other Story, Raheed Araeen observed; "Although Anwar Jalal Shemza belongs to that generation of artists who arrived here in the 50s and who had already established themselves in their countries of origin, his experience in Britain led him to an entirely different direction to his contemporaries. But his experience was not unique. Almost every Afro-Asian artist must have his or her own story to tell: how their dreams and aspirations were shattered, how they had to recover their confidence in themselves, their identity as human beings and as artists; and how the memory of their own cultures played an important role in this recovery." (Rasheed Araeen, The Other Story, Exhibition Catalogue, The Hayward Gallery, London, 1989) Shemza's work has been exhibited widely including The Other Story: Afro-Asian Artists in Post-War Britain, at the Hayward Gallery, London, 1989; Anwar Shemza, at the Birmingham Museum and Art Gallery, 1997; Anwar Shemza, at the Tate Britain, 2015; and Postwar: Art Between the Pacific and the Atlantic, 1945-1965, at Haus der Kunst, Munich, 2016. Works are also held in the permanent collections of the Ashmolean Museum, Oxford, Tate Gallery, London, Metropolitan Museum of Modern Art, New York, the Lahore Museum, Pakistan National Council of the Arts, Islamabad, the Sharjah Art Foundation, and the Guggenheim in Abu Dhabi. Condition Report: Not relined. Craquelure scattered across the surface. Slight rucking to the canvas, upper left. Stretcher marks visible. There are some small patches of light flaking and losses to the red pigment which reveals the yellow ground, areas may be consistent with artist's intent. Overall the surface appears stable. Light surface dirt throughout. Small dent to the upper right quadrant. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
λ ALFRED WOLMARK (BRITISH 1877-1961) BRETON FISHERBOYS Oil on canvas Signed with monogram (lower left) 76 x 63.5cm (29¾ x 25 in.) Painted circa 1911.Provenance: Cyril Ross, friend and patron of the artist Exhibited: (probably) London, Ben Uri Gallery, Wolmark Memorial Exhibition, 1961, no. 13 London, Belgrave Gallery, Wolmark Centenary Exhibition, 1977, no.1 Bradford, Bradford City Art Gallery, Jewish Artists of Great Britain, 1978, no. 39 (illustrated in the catalogue p. 33) Glasgow, Glasgow City Art Gallery, Exhibition of Jewish Art, 1979, no. 74 (illustrated in the catalogue p. 16) London, Phillips, The Ben Uri Story, 2001, no. 75 Edinburgh, Phillips, The Ben Uri Story, 2001, no. 75 London, Ben Uri Gallery, Alfred Wolmark, 2004, no. 35 (illustrated in the catalogue p. 34 Hull, Ferens Art Gallery, Alfred Wolmark, 2005, no. 35 (illustrated in the catalogue p. 34) As the son of Polish emigrés, Wolmark's early work was traditional in style and focussed on depictions of his Jewish heritage. However, by 1910, influenced by the movements in modern art both in Britain and on the continent, Wolmark had embarked upon a more radical and vibrantly coloured path. He participated in Roger Fry's seminal exhibition Manet and the Post Impressionists at the Grafton Galleries in 1910, with his work hanging alongside that of Van Gogh. In the summer of 1911, he and his new wife spent their honeymoon at Concarneay in Brittany. It was a trip that would transform Wolmark's painting and cement him as one of the pioneers of the modernist movement in England. Concarneau and the surrounding area was already a popular destination with artists. As never before, Wolmark was exposed to the French Avant-Garde and was profoundly influenced by the Fauves' strong use of colour and fluid composition. He worked prodigiously throughout the ten week trip producing around ninety canvasses. He took as his subject matter the local fisher people such as the present lot, as well as the bustling markets, port and rugged coastal landscape. The work that Wolmark produced in 1911 is some of his best and most significant of his career. The rawness and immediacy of these compositions reveal Wolmark's excitement at having found this new artistic direction. They exude an energy that the young painter undoubtedly felt for his newfound style. Condition Report: The paint is thin in places around the edges with a few small paint losses, most notably to the centre of the lower edge. There is some fine scattered cracking to the areas of thick impasto. Otherwise in good original condition. No evidence of retouching visible under ultraviolet light. Condition Report Disclaimer
λ CONROY MADDOX (BRITISH 1912-2005) THE PRIMA DONNA Oil on canvas Signed and dated 93 (lower right); further signed, titled and dated 1993 (verso) 122.2 x 92cm (48 x 36 in.)Painted in 1993. Provenance: London, Belgrave GalleryExhibited: Stoke-on-Trent, Museum and Art Gallery, Conroy Maddox: Surreal Enigmas, 1 April-29 May 1995, no.79Literature: Silvano Levy, Surreal Enigmas, 1995, illus p.96. Silvano Levy, The Scandalous Eye: The Surrealism of Conroy Maddox, 2003, p.275 Condition Report: The canvas is not relined. There are a couple of surface scuffs and scratches, notably to the lower right quadrant. There are some spots of surface dirt. Ultraviolet light reveals a couple of possible spots of retouching to the background. Otherwise, in overall good original condition.Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) ANDREW CAVENDISH, 11TH DUKE OF DEVONSHIRE Painted plaster 45cm (17½in.) High Provenance: Direct from the artist's studio collection Angela Conner and Andrew Cavendish, the 11th Duke of Devonshire, became close friends after being introduced by Angela Conner's brother-in-law and playwright, John Osborne. From that first meeting, he was a keen collector of her work, at one point owning over forty of her sculptures, including busts of prominent British politicians, royalty, writers, and celebrities, as well as larger garden sculptures. Impressed by her work, Conner was then asked to produce portraits of the Duke of Devonshire himself and his Family, which were exhibited in 1975 at the Chatsworth Theatre Gallery alongside pictures by Lucian Freud. Cavendish was a British aristocrat and politician, best known for his contributions to the preservation and management of historic properties and cultural institutions in England. In addition to inheriting and restoring Chatsworth House in Derbyshire, he served as chairman of the Historic Houses Association and the Georgian Group, organisations dedicated to the preservation of historic buildings and landscapes in England. He was also actively involved in politics, serving as a Member of Parliament for almost twenty years and holding various government positions, including Minister of State for Commonwealth Relations. 'It's rather extraordinary how I came to meet her. I'd been to the theatre and [...] sat next to a lady who i'd never met before who said she was a sculptor, and just beginning to sculpt. Shes done a head of Roy Strong and I said I'd love to go and see it. [...] And that's how it all started.' The Duke of Devonshire, 3rd January 2001, from an interview with Helen Dempsey Condition Report: Losses to the plaster base at the back of the sculpture. Light surface dirt throughout. A number of marks and nicks commensurate with material used. Please note that this work is painted plaster. Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) ROLLING STONES Granite on marble base 40 x 63 x 36cm (15½ x 24¾ x 14 1/8in.) inc. base Provenance: Direct from the artist's studio collection Condition Report: Some minor wear to the base with some small scattered white paint splashes. Some light surface dirt. The discs are slightly loose on the base. Otherwise, in good original condition.Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) CHARLES DE GAULLE Bronzed composite 66cm (25in.) High exc. base Provenance: Direct from the artist's studio collection Charles De Gaulle was the leader of the Free French Forces against Nazi occupation in France. In 1958, amidst political crisis, he returned to power as President of the French Republic and embarked on a mission to modernise French political and economic systems. His presidency was marked by his pursuit of national sovereignty, his promotion of international French grandeur, and his commitment to nuclear deterrence as a means of ensuring French security and independence. The bust is part of the series produced for Conner's large scale sculpture of de Gaulle which stands in Carlton Gardens, St. James'. Between 1940 and 1944 Charles De Gaulle set up the headquarters for the Free French Armed Forces from 3-4 Carlton Gardens. The sculpture was publicly funded and pushed through by Mary Soames, daughter of Winston Churchill. The sculpture was unveiled in June 1993 by the late Queen Mother. The success of the sculpture resulted in a statue of Churchill to be erected in the centre of the French capital in 1998. Condition Report: Light surface dirt throughout. A small loss to the roping detail at the back of the hat. Slightly loose on base. A few scuffs and small losses scattered across the surface. Otherwise no significant condition issues. Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) STUDY OF BETH, QUEEN CAMILLA'S JACK RUSSELL Bronze with a gold patina Signed, numbered 1/3 and indistinctly dated 2017 (to underside of stomach) 15 x 15cm (5¾ x 5¾ in.)Provenance: Direct from the artist's studio collection Condition Report: Some very light surface dirt to the creases. Otherwise in good original condition.Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) PURCELL'S DIDO AND AENEUS, A SET OF THREE Aluminium, resin, brass and wood Various sizes, the largest 187cm (73½in.) High inc. base Provenance: Direct from the artist's studio collection The present work is a from a series Angela Conner developed in 1970 centred around the legend of Dido and Aeneas. The series was displayed within the artist's solo show held at The Lincoln Centre, New York in 1970. Dido and Aeneas is an opera by Henry Purcell based on the fourth book of Virgil's Aeneid. Dido, Queen of Carthage is deeply in love with Aeneas, the Trojan hero. The story is one of pain and heartache when Aeneas abandons Dido. The opera is played out in 3 acts, represented by each of the columns in the present lot. Condition Report: The works are slightly unstable and may benefit from some restoration to make them completely secure. There is some light tarnishing and very light spots of verdigris to the brass plates. There is a repaired crack to one of the stems. May benefit from a light clean. Condition is commensurate with age and as found in artist's studio. Condition Report Disclaimer
λ ENZO PLAZZOTTA (ITALIAN 1921-1981) CHARMAINE Bronze with gold patina Signed and dated 1966 (to back of arm) 49cm (19¼in.) HighConceived in 1966 and sold together with certificate of authenticity. Italian-born sculptor Enzo Plazzotta Studied in Milan at the Accademia di Brera under Francesco Messina, until the outbreak of the second World War, when he enrolled in the army. He was sent to North Africa until Mussolini's fall, and subsequently founded a partisan movement, which led to his imprisonment. Released from the prison after the war, Plazzotta returned to Brera to complete his studies. In 1957 he travelled to England to present a statuette, before deciding to establish his artistic profile in London, directing his attention towards setting up a commercial art agency. At the age of forty, Plazzotta turned his attention back to sculpting, working mainly in bronze to create sculptures of dynamic human and animal figures, with a specific interest in dancers and horses. Despite many of his sculptures being situated on the streets of London, he maintained close links to his home-country, casting much of his work at his studio in the quarries of Pietrasanta. In 1976, Plazzotta was honoured the title of Cavaliere from the Italian government, acknowledging his services to Italian art. By 1981, Plazzotta's health was diminishing due to cancer, and he passed away within the same year. Plazzotta's work has been widely exhibited globally in Europe, the United States and Australia, and features in several public and private collections including the Vatican, Rome, The Hermitage, Lausanne and The Queensland Art Gallery, Brisbane. Condition Report: Apart from some light surface dirt to crevasses, this work is in good original condition.Condition Report Disclaimer
λ EMILY PATRICK (BRITISH B. 1959) STILL LIFE ON A WINDOW SILL Oil on board Signed (lower right) 60.5 x 90.5cm (23¾ x 35½ in.) Provenance: Thomas Agnew & Sons Ltd., London From a Private Collection Condition Report: Very light surface dirt throughout. Otherwise appears to be in good original condition. Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) STUDY OF TIGGA, SEATED, KING CHARLES' JACK RUSSELL Bronze Signed, numbered 3/8 and dated 2004 (to underside) 14 x 12cm (5½ x 4½ in.) The present work was a posthumous cast executed by Angela Conner in 2004. Tigga died at the age of 18 in 2002. Provenance: Direct from the artist's studio collection Condition Report: Some light surface dirt and areas of ingrained dirt and verdigris. Some rubbing to the underside of the paws and tailCondition Report Disclaimer
λ JOHN DUNCAN FERGUSSON (SCOTTISH 1874-1961) FIGURES AT A BAR Black crayon 20 x 12cm (7¾ x 4½ in.)Provenance: Direct from the artist Thence by descent to Margaret Morris Private Collection Condition Report: Unexamined out of glazed frame. Very light discolouration to the upper edge of the sheet. Otherwise appears to be in good original condition. Condition Report Disclaimer
λ YVONNE CANU (FRENCH 1921-2008) PREPARATIONS AUX REGATES Oil on canvas Signed (lower right); titled and inscribed with inventory number 793 (verso) 36 x 42.5cm (14 x 16½ in.)Exhibited: New York, Wally Findlay Gallery, 1983 Condition Report: The canvas is not relined. There is no evidence of retouching visible under ultraviolet light. In good original condition.Condition Report Disclaimer
λ ANTHONY GROSS (BRITISH 1905-1984) THRESHING Oil on canvas Signed and dated 54 (lower left) 46.5 x 56cm (18¼ x 22 in.) Provenance: Acquired from the Artist's FamilyThis subject was etched by the artist in 1956 and titled 'Threshing, Depiquage'. Condition Report: Light rubbing to the framing edges. One small loss to the left side of the lower edge. A couple of small patches of craquelure scattered across the canvas. A very subtle diagonal dent running from the lower right corner to the centre, only visible in certain lights. There is a corresponding grey line on the canvas reverse. Canvas is slightly slack. Inspection under UV reveals a small patches of scattered retouching to the upper right quadrant. A thick green varnish throughout. Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) PAUL MELLON Painted plaster 40cm (15½in.) High Executed in 1986. Provenance: Direct from the artist's studio collection Angela Conner had the ability to capture not only the character of the person but encapsulate in clay, wax and bronze elements of what lies beneath. Conner executed the present bust whilst visiting New York. The pair were sat in a basement room away from the humdrum and chaos of the streets of New York. Angela Conner recalls how Paul Mellon entertained her throughout the sitting with humorous stories. One of which that stands out in Conner's memory was a time when Mellon was hunting in Norfolk and Licolnshire, he fell off his horse so regularly into the wettest of muddy ditches that he was nicknamed 'The Water Mellon.' Paul Mellon was an American philanthropist and art collector, amassing one of the most important and extensive art collections of the 20th century. Mellon's collecting interests were wide-ranging, spanning European and American art from the Renaissance to the modern era. He had a particular affinity for British art, with a focus on 18th-century British painting, including works by artists such as J.M.W. Turner, George Stubbs, and Thomas Gainsborough. Mellon's dedication to British art led to his pivotal role in the establishment of the Yale Centre for British Art in New Haven, Connecticut, which houses his remarkable collection and serves as a hub for scholarship and research in the field. A cast of this bust is currently on display at the Yale Centre for British Art and the National Gallery of Art, Washington. Condition Report: Light surface dirt throughout. There has been a small area of restoration to the very top of Paul Mellon's left ear. This is not noticeable. In generally good original condition. Condition Report Disclaimer
λ DORIS VAUGHAN (BRITISH 1894-1975) THE SHIP INN, MOUSEHOLE Watercolour Signed (lower left) 34 x 49cm (13¼ x 19¼ in.)Exhibited: London, Belgrave Gallery, Doris Vaughan & Colin Sealy, 1977, ex-cat Condition Report: Unexamined out of glazed frame. Light fading to the sheet, visible mostly to the pub where the sheet is bare. Otherwise no obvious significant condition issues. Condition Report Disclaimer
λ JOHN NASH (BRITISH 1893-1977) FARMYARD SCENE Pencil and watercolour Signed (lower left) 31 x 38.5cm (12 x 15 in.)Provenance: Sale, Christie's, 19 December 1972, lot 47 Acquired from the above by the present owner From a Private Collection Condition Report: Some very light foxing throughout the sheet, but otherwise, the sheet appears to be in good original condition. Under glass and unexamined out of frame.Condition Report Disclaimer
λ HANS BELLMER (GERMAN 1902-1975) PORTRAIT OF THE PHILOSOPHER GASTON BACHELARD Oil and ink on board Signed (lower right) and dated 1957 (lower left) 54 x 49.5cm (21¼ x 19¼ in.) Exhibited: Cologne, Galerie Gmurzynska,1966, no. 5 The authenticity of this work has kindly been confirmed by Rodica Aldoux. Hans Bellmer was a German artist known for his provocative and surrealistic sculptures, drawings, and photographs. Emerging in the 1930s, Bellmer's work often explored themes of desire, sexuality, and the subconscious mind. He gained international recognition for his "La Poupée" series, which featured unsettling and meticulously crafted dolls with interchangeable parts, arranged in surreal and sometimes disturbing compositions. His work was deeply influenced by his own experiences during the war, and his interest in psychoanalysis, particularly the theories of Sigmund Freud. During the Second World War, his work was declared "degenerate" by the Nazi party, and Bellmer fled to France in 1938, where his work was received by André Breton and the Surrealists with interest. He was fascinated by their experimentation of multifaceted planes of perspective, which influenced some of his later works. Bellmer's work has been exhibited in Europe and the United States, with multiple solo shows showcasing his photography, dolls and paintings. Highlights include solo shows at the Museum of Contemporary Art, Chicago in 1975, the Centre Georges Pompidou in 2006, and at the Washington D.C Hirshhorn Museum and Sculpture Garden in 2016. Condition Report: The paint has been lightly applied with areas of the white board visible, as originally intended by the artist. Ultraviolet light reveals a few scattered patches of retouching, notably one to the centre left, just off the edge, another to the lower left corner above the date and another to the lower edge. Otherwise, the work appears to be in good original condition.Condition Report Disclaimer
λ DAVID WYNNE (BRITISH 1926-2014) SIR JOHN GIELGUD Bronze with a brown patina Signed and numbered 1/6 Height (exc. base): 31cm (12in.) Conceived in 1962. Provenance: From a Private Collection Literature: T.S.R. Boase, The Sculpture of David Wynne 1949-1967, London, 1968, p. 155 (illustration of another cast p. 94) Condition Report: Some surface dirt, most notable to the crevices. May benefit from a light clean. Otherwise appears to be in good original condition. Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) CORIOLANUS Metal 45cm (17½in.) High exc. baseProvenance: Direct from the artist's studio collection The present lot was produced as part of a series based on Shakespearean literature for an exhibition presented by The Library & Museum of the Performing Arts at The New York Library at the Lincoln Center. The series was conducted to produce emotional responses to Shakespeare's characters creating forms not figures. Coriolanus represents two cages of steel rods, one encased with the other. The single rod running through the centre signifies the melancholy of Hamlet and the outburst of entrapment and reflective introspection radiates from this central focus. Condition Report: Some light tarnishing, otherwise in good original condition.Condition Report Disclaimer
λ ENZO PLAZZOTTA (ITALIAN 1921-1981) REHEARSAL I (NADIA NERINA) Bronze on wooden base Signed and numbered from an edition of 12 44cm (17¼in.) High exc. base Together with certificate of authenticity. Literature: Carol Plazotta and Richard O'Conor, Enzo Plazotta, A Catalogue Raisonné, London, 1986, p. 38, no. 61Italian-born sculptor Enzo Plazzotta Studied in Milan at the Acadamia di Brera under Francesco Messina, until the outbreak of the second World War, when he enrolled in the army. He was sent to North Africa until Mussolini's fall, and subsequently founded a partisan movement, which led to his imprisonment. Released from the prison after the war, Plazzotta returned to Brera to complete his studies. In 1957 he travelled to England to present a statuette, before deciding to establish his artistic profile in London, directing his attention towards setting up a commercial art agency. At the age of forty, Plazzotta turned his attention back to sculpting, working mainly in bronze to create sculptures of dynamic human and animal figures, with a specific interest in dancers and horses. Despite many of his sculptures being situated on the streets of London, he maintained close links to his home-country, casting much of his work at his studio in the quarries of Pietrasanta. In 1976, Plazzotta was honoured the title of Cavaliere from the Italian government, acknowledging his services to Italian art. By 1981, Plazzotta's health was diminishing due to cancer, and he passed away within the same year. Plazzotta's work has been widely exhibited globally in Europe, the United States and Australia, and features in several public and private collections including the Vatican, Rome, The Hermitage, Lausanne and The Queensland Art Gallery, Brisbane. Condition Report: Light surface dirt throughout. There are some scratches to the wood base where the sculpture meets the base. Overall in good original condition. Condition Report Disclaimer
λ AHMED PARVEZ (BRITISH/PAKISTANI 1926-1979) ABSTRACT Oil on canvas Signed and dated '62 (lower left) 76 x 51cm (29¾ x 20 in.)Provenance: Private Collection, Denis BowenExhibited: London, New Vision Centre Gallery, 1962 Nottingham, Commonwealth Festival Exhibition, 1966 London, Hayward Gallery, The Other Story, 1989, no. 4 Belgrave Gallery, British Abstract Artists of the 50s and 60s, 1992 (illustrated in exhibition catalogue p. 40)The present work was notably exhibited in the ground breaking exhibition The Other Story: Afro-Asian Artists in Post-War Britain, at The Hayward Gallery, London in 1989. This exhibition brought together works from Asian, African and Caribbean artists working in Post-War Britain, celebrating and promoting these artists to the mainstream that had otherwise been side-lined by critics and established institutions. Victor Musgrave from Gallery One called Parvez "Without question the outstanding artist from Pakistan who has made a very strong impact upon the English art world. His extension into the West of the ideals implicit in Muslim art has been an effort of unique importance." (S. Ali, Homage: Remembering the Maestro, Dawn, 15 September 2013.) Condition Report: Very fine craquelure to the extreme edges and corners. Light surface dirt throughout. Inspection under UV reveals retouching to the upper left quadrant in the shape of a right angle. Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) LORD GOODMAN, ARNOLD GOODMAN Bronze Signed and numbered 9/10 44cm (17¼in.) High exc. base Provenance: Direct from the artist's studio collection British lawyer and political advisor Arnold Goodman commissioned seven of his own busts to gift his friends in 1972. Busts were received by Sir Max Rayne, Evelyn Rothschild, Duke of Devonshire, and Ian Fleming's widow, Anne Charteris. A bust also went to the Arts Council, which Goodman chaired from 1965 until 1973. During his time, he contributed towards a government bill that would ensure regular funding for the Arts Council funding for galleries and theatre companies in Britain, and the establishment of the South Bank Centre, London. Condition Report: Very light surface dirt. Otherwise in good original condition. Condition Report Disclaimer
λ DORA GORDINE (ESTONIAN 1895-1991) MARY VERA HEPWORTH NÉE HOPKIN Bronze with green patina Signed and numbered 1/2 53.5cm (21 in.) Provenance: Direct from the artist, sculpture for Mary's 21st birthday Thence by descent to the present owner The sitter depicted in the present lot is Mary Vera Hepworth née Hopkin. She was born in Bangkok, Thailand on 20 September 1918. Her father was Harry 'Hoppy' Hopkin, then a journalist on the Straits Times, Singapore, and her mother was Nadia, a dancer, born in Krasnoyarsk, Siberia. Mary's grandfather, Engel, was a tailer in Krasnoyarsk, Siberia and was responsible for the clothes worn by the workers responsible for the construction of the Trans Siberian Railway. Many of his co-workers were circus people and taught Engel and his family a whole range of circus skills. Following the completion of the railway the group of worker's including Engel and his family decided to travel to Shanghai to become street entertainers. After touring with Colonel Phyllis and his circus across China, Vietnam and Laos the family decided to buy a hotel, King Chulalonghorn himself becoming a habitué, as did the Sultan of Johore. Nadia and her sisters danced for the King at his Palace and were paid in gold. So when Hoppy, Mary's father walked in to the hotel, one day, on the lookout for a new story and his gaze fell on a dancing Nadia, he was struck. They were married, and had two girls, Nadia and Mary. Eventually Mary joined the Straits Times, to edit the society page, under the pen name Vera Ardmore - Ardmore being the name of the flats in which they lived. She had already met Dora as Hoppy had introduced Dora to Nadia as he thought her Russian/Ukrainian background would be of interest to her, and they all became friends. Some years later Hoppy came to London to join the Daily Mail as foreign editor. Dora heard of it and proposed they take the vacant house beside her newly built studios in Kingston which they did and was how and why, for a 21 birthday present, Dora sculpted Mary's nude figure. Mary married Joseph Bulmer Hepworth on 27th June 1947, who was the grandson of Joseph Hepworth who founded the nationwide tailoring company Hepworths, whose trading name changed to NEXT in 1990. Condition Report: There is some light surface dirt throughout and patches of green verdigris to crevasses. Otherwise, in good original condition. Condition Report Disclaimer
λ FELIX KELLY (BRITISH/NEW ZEALAND 1914-1994) HOUSE WITH REGENCY PAVILION Oil on board Signed and dated 80 (lower right) 56 x 71.5cm (22 x 28 in.)Provenance: Partridge (Fine Arts), London Private Collection, Berkshire (acquired from the above) Condition Report: Ultraviolet light reveals an uneven varnish, but no retouching. In otherwise, good general condition.Condition Report Disclaimer
PHILIP WILSON STEER (BRITISH 1860-1942) STRAND-ON-THE-GREEN Oil on panel Stamped with initials (lower left) 20.5 x 27cm (8 x 10½ in.)Painted in 1893.Provenance: Sale, Christie's, The Artist's Studio Sale, 16-17 July, 1942, lot 192 J.S. Wright, Esq., Private Collection J. Leger & Son, London (1958) The Maas Gallery, London Hazlitt, Gooden & Fox, London The Hon. Mrs. E.A. Wallace, Private Collection Sale, Christie's, London, 8 November 1990, lot 19 Agnew's, London From a Private Collection (purchased from the above in June 1992) Exhibited: London, Goupil Gallery, Catalogue of a Collection of Paintings by P. Wilson Steer, February, 1894, no. 9 Leeds, Leeds City Art Gallery, Philip Wilson Steer O.M 1860-1942, Leeds, 29 March - 14 May 1944, no. 16 Literature: D.S. MacColl, Life Work and Setting of Philip Wilson Steer, London, 1945, p. 194 Bruce Laughton, Philip Wilson Steer 1860-1942, Oxford, 1971, p. 134, no. 134 Leeds City Art Gallery Exhibition Catalogue, Philip Wilson Steer O.M 1860-1942, Leeds, 29 March - 14 May 1944, p. 7, no. 16 Condition Report: There are two vertical scratches to the centre left, one in the sky and one in the water. No evidence of retouching visible under ultraviolet light. Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) THE MATRIARCH Bronze Signed, numbered 1/15 and dated 2011 (to underside of ear) 33cm (12in.) High exc. base Provenance: Direct from the artist's studio collection Condition Report: The sculpture is slightly loose to the base. There is some wear to the base and some light surface dirt throughout. Otherwise, in good original condition.Condition Report Disclaimer
λ ALAN REYNOLDS (BRITISH 1926-2014) STRUCTURE: RED AND GREEN Oil on board 51 x 48cm (20 x 18¾ in.)Painted circa 1960.Provenance: Thomas Agnew & Sons Ltd., LondonChristened early in his career as "the golden boy of Neo-Romanticism" by Bryan Robertson, Alan Reynolds was held in international acclaim for his beautifully executed paintings of Kentish orchards, hop fields, grasses and teasel heads. His work was bought by the Tate Gallery in London, the National Gallery of Victoria in Melbourne and the Fleischman Collection in Pittsburgh. With sell out exhibitions to international institutions and respected collectors alike it shocked the London art scene of the 1960s when Reynolds became an abstract artist. He first exhibited his non-figurative work at the Redfern Gallery in 1960. This transitional exhibition saw him using an earthen palette, reminiscent of his earlier landscapes on paired down geometric forms and constructions. Although this was seen as a seismic shift in his output, for Reynolds it was a natural progression in his oeuvre and something that he had hinted at as far back as 1953 when he referred to painting as "a problem of solving equations; tonal, linear, and so on. The subject or motif must be transformed and become an organic whole. Poetry is never absent from Nature, but alone it cannot constitute a work of art. It must be reconciled with the elements of design and composition. Laying emphasis on the formal values in a work will therefore result in a degree of abstraction."The present work manages to seamlessly synthesise nostalgia with contemporary doctrines in a rare example from this period in which Reynolds first moves into abstraction Condition Report: There is some cracking and associated losses where the board meets the brown mount. Some light surface dirt. Ultraviolet light reveals no evidence of retouching. There is however a heavy varnish which may benefit from a light clean.Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) KING CHARLES III Bronze Signed, dated 1995 and numbered 4/10 43cm (16¾in.) High exc. base The present bust of King Charles III was commissioned by the Duke of Devonshire in 1995 for the Chatsworth collection. Provenance: Direct from the artist's studio collection Condition Report: Light surface dirt. Otherwise appears to be in good original condition. Condition Report Disclaimer
Three Silver Heavy Pendants, comprising a silver circular pendant set with a black faceted stone, a silver pendant formed of three graduating oblong jade pieces, from pale blue to green then light green, and a silver oval shell pendant with a decorative bale. All fully hallmarked, and in lovely condition.
Philip Maskery (English, 20th century), 'Cambodia'. A sculpture shining light on the tragedies of residual landmines in Cambodia from past conflicts. Constructed on a Stone Base, the subject shows a foot severely injured, ribbons flowing through the inferred wounds. A Brass plaque to the side of the sculpture reads 'Cambodia P. Maskery March 2001'. Maskery has created several other sculptures including on much larger scale. Height: 22cm Width: 40cm
Louis HAGHE (Belgium, 1806-1885). 'Sacristy, Church of Notre Dame, Treves'. Scene depicts a secular priest in knelt prayer besides an exhausted archbishop. From Plate 21 published in Haghe's Portfolio of Sketches in Belgium and Germany of 1850. Colour Lithograph on Paper, mounted in a modern frame behind glass. Titled lower left and signed 'L. Haghe' lower right in print. Some wear and dents to frame with light foxing to print. Size incl. frame, Height: 48.9cm Width: 38.3cmThis lot can be shipped at the buyers risk, insurance isn't available on this lot.
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